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Latest podcast episodes about Newport Folk Festival

Tent Show Radio
Charlie Parr & the Depot Jazz Quartet | Episode 23-03

Tent Show Radio

Play Episode Listen Later Jan 20, 2023 59:01


Charlie Parr is an incorruptible outsider who writes novelistic, multi-layered stories that shine a kaleidoscopic light on defiant, unseen characters thriving in the shadows all around us. With a sound deeply tied to the blues and folk traditions of an earlier era, Parr has released 14 studio albums and tours the globe performing at legendary venues like Newport Folk Festival, The Kennedy Center, The Troubadour, and Bowery Ballroom. But he hasn't moved to LA or Nashville; he's stayed in the cold grey north of Minnesota, because that's his home. The Depot Jazz Quartet features legendary piano player Paul Ierino, John Thorene on bass, Rick Bruner on drums, and Randy Lee leads the group on various woodwinds. An accomplished musician, Randy Lee's various professional bands and associations have found him accompanying artists including Wayne Newton, Riudus Reid, Paul McKee, and the Mills Brothers to name of few. Notably, he has performed and toured alongside legendary superstars of Motown the Four Tops and the Temptations. This episode features recordings from both acts' 2022 performances under the tent. First broadcast in 1994, Tent Show Radio is a weekly one-hour radio program showcasing the best live recordings from acclaimed music acts and entertainers who grace the Big Top Chautauqua stage each summer in beautiful Bayfield, WI. In the program's nearly 30-year history it has featured artists like Johnny Cash, B.B King, Brandi Carlile, Willie Nelson, Don McLean, and many more. Hosted by celebrated New York Times best-selling author Michael Perry-who weaves stories and humor throughout each episode - Tent Show Radio features performances from renowned national & regional artists, with regular appearances featuring Big Top's own unique brand of shows that feature songs and stories performed by its acclaimed house band, The Blue Canvas Orchestra. Tent Show Radio is independently produced by Big Top Chautauqua, a non-profit performing arts organization, with a mission to present performances and events that celebrate history and the environment - along with their annual summer concert series - nestled in the woods on the shores of Lake Superior and the Apostle Islands. EPISODE CREDITSMichael Perry - Host Phillip Anich - Announcer Matt Jugenheimer - Engineer & Producer Gina Nagro - Marketing Support FOLLOW BIG TOP CHAUTAUQUA https://www.facebook.com/bigtopchautauqua/ https://www.instagram.com/bigtopchautauqua/ https://www.tiktok.com/@bigtopchautauqua https://twitter.com/BigBlueTent FOLLOW MICHAEL PERRYhttps://sneezingcow.com/ https://www.facebook.com/sneezingcow https://www.instagram.com/sneezingcow/ https://twitter.com/sneezingcow/ 2023 TENT SHOW RADIO SPONSORSAshland Area Chamber of Commerce - https://www.visitashland.com/  Bayfield Chamber and Visitor Bureau - https://www.bayfield.org/  Bayfield County Tourism - https://www.bayfieldcounty.wi.gov/150/Tourism  The Bayfield Inn - https://bayfieldinn.com/  Cable Area Chamber of Commerce - https://www.cable4fun.com/  Washburn Area Chamber of Commerce - https://washburnchamber.com/ SPECIAL THANKSWisconsin Public Radio - https://www.wpr.org/ 

Performance Anxiety
Side Projects: The Jim Irsay Collection

Performance Anxiety

Play Episode Listen Later Dec 8, 2022 39:25


This is an episode of a different kind, even for the Side Projects series of the podcast. I'm joined by Larry Hall. Larry is the Chairman of The Jim Irsay Collection; one of the most amazing private collections of musical and historical artifacts in the country, if not the world. Jim Irsay is the owner of the NFL's Indianapolis Colts. But his love of music, history, pop culture, and in many instances, their convergence, set off a spark that resulted in an unbelievable collection of artifacts. The Jim Irsay Collection spans over 2000 pieces and Larry is in charge of it all. He reveals how the collection started with the original 200 foot long scroll of Jack Kerouac's On The Road and has grown exponentially over the years to include some unbelievable items. There's Prince's Yellow Cloud guitar, Jerry Garcia's Tiger, John Lennon's antique piano that he used on Sgt. Pepper's, Kurt Cobain's Fender Mustang, and a grand piano played by Elton John, John Lennon during his last live performance, Freddie Mercury, AND Paul McCartney at Live Aid. Then there's the guitar that saved acoustic guitar making in America and Dylan's guitar from the Newport Folk Festival.Larry also discusses some historical pieces like a hat that was to be presented to JFK on the day he was assassinated, a knife owned by Abraham Lincoln, and an original copy of the Declaration of Independence. The collection tours the country, visiting a new city every few months. Larry talks about the logistics and safety measures taken when everything hits the road. This truly was a unique conversation and one that I'm so glad I can share. If you get the opportunity, go see The JIm Irsay Collection. You can check out the website, jimirsaycollection.com to see where the collection is heading as well as the social media links, which are getting a complete overhaul as we speak. You can follow us @PerformanceAnx on Twitter & Instagram. You can help to support out collection of great conversation by buying us a cup of coffee at ko-fi.com/performanceanxiety or by picking up our non-historical merch at performanceanx.threadless.com. Now get ready to be blown away by Larry Hall of The Jim Irsay Collection on Performance Anxiety on the Pantheon Podcast Network.

Ozark Highlands Radio
OHR Presents: Dom Flemons & Andy Hedges

Ozark Highlands Radio

Play Episode Listen Later Dec 4, 2022 58:59


This week, Grammy Award winning oldtime singer, songwriter, multi-instrumentalist and Smithsonian Folkways recording artist Dom Flemons with renowned cowboy poet, singer-songwriter, multi-instrumentalist and archivist Andy Hedges recorded live at Ozark Folk Center State Park in Mountain View, Arkansas. Also, interviews with Dom & Andy. “GRAMMY Award Winner, Two-Time EMMY Nominee, 2020 United States Artists Fellow- Dom Flemons is originally from Phoenix, Arizona and currently lives in the Washington, D.C. area with his wife Vania Kinard and their daughter Cheyanne Love. He has branded the moniker ‘The American Songster' since his repertoire of music covers over 100 years of early American popular music. Flemons is a songwriter, multi-instrumentalist, producer, actor, music scholar, historian, and record collector. He is considered an expert player on the banjo, guitar, harmonica, jug, percussion, quills, fife and rhythm bones. Flemons was selected for the prestigious 2020 United States Artists Fellowship Award for the Traditional Arts category which was generously supported by The Andrew W. Mellon Foundation. He currently serves as a Governor on the Board of Directors for the Washington, D.C Chapter of the Recording Academy. In 2018, Flemons released a solo album titled ‘Dom Flemons Presents Black Cowboys' on GRAMMY Award-winning record label Smithsonian Folkways and received a GRAMMY Nomination for ‘Best Folk Album' at the 61st GRAMMY Awards. This recording is part of the African American Legacy Recordings series, co-produced with the Smithsonian National Museum of African American History and Culture in Washington, D.C.” - https://theamericansongster.com/about/ “Andy Hedges is a songster, reciter, storyteller, guitarist, and collector of cowboy songs and poems. The son of an Italian schoolteacher and a rodeo cowboy turned preacher, Andy was born in Lubbock, Texas, in the spring of 1980. He grew up in the small community of Tokio, Texas, where his family paid rent on an old farmhouse by looking after a few head of cattle. It was there that Andy fell in love with traditional music by listening to his father's cassettes of cowboy songs. “Andy's vast and varied repertoire includes classic cowboy poetry recitations, obscure cowboy songs, dust bowl ballads, and blues. He also hosts a podcast, Cowboy Crossroads which features in-depth interviews with fellow musicians and poets. Andy has performed many times with folk legend Ramblin' Jack Elliott and the duo's performance at the 60th Newport Folk Festival was named one of the '10 Best Things We Saw' by Rolling Stone.” - https://andyhedges.com/about Together Dom and Andy explore the songs of the old west and often overlooked music of African American Cowboys in this rare and special performance. In this week's “From the Vault” segment, musician, educator, and country music legacy Mark Jones offers a 1975 archival recording of Ozark original fiddler Charley Richardson performing the tune “Gold Rush,” from the Ozark Folk Center State Park archives. Author, folklorist and songwriter Charley Sandage presents an historical portrait of the people, events and indomitable spirit of Ozark culture that resulted in the creation of the Ozark Folk Center State Park and its enduring legacy of music and craft. In this episode, Charley profiles our very own Ozark original cowboy poet Glenn Ohrlin with an archival recording of Glenn reciting the classic Wallace McRae poem “Reincarnation.”

Journal du Rock
Joni Mitchell ; The Offspring ; Nik Turner ; Bruce Springsteen ; Vente aux enchères ; Neil Young

Journal du Rock

Play Episode Listen Later Nov 14, 2022 3:22


Joni Mitchell a annoncé qu'elle allait sortir sous forme d'album le concert de son grand retour au Newport Folk Festival de cette année. The Offspring s'attaque à un classique de Noël qu'ils sortent sous le titre "Bells Will Be Ringing (Please Come Home For Christmas)". Co-fondateur d'Hawkwind et saxophoniste, Nik Turner est décédé à 82 ans. Bruce Springsteen a confié qu'il avait déjà préparé un album entier juste avant de sortir son album de reprises soul. Une guitare abîmée de Kurt Cobain (1967-1994), du groupe Nirvana, a été vendue plus de 486.000 dollars aux enchères à New York. Le premier trailer du documentaire à venir sur Neil Young, Harvest Time, est à voir sur classic21.be. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30.

A History Of Rock Music in Five Hundred Songs
Episode 157: “See Emily Play” by The Pink Floyd

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Nov 8, 2022


Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

america tv love american death history black world children english uk space news americans british games young war walk spring secrets european wild heart inspiration stars dna songs african trip hospitals bbc wind sun vietnam wolf joker britain catholic beatles mothers lion tiger greece liverpool stem nurses cambridge birmingham wright iv kent david bowie eleven waters butterflies depending bomb bob dylan victorian newcastle civil rights john lennon invention bach lsd pink floyd apples communists rat boyd chapman bb boogie pops handel controls string heartbeat alice in wonderland kinks adler byrne ban mole greyhound emo sanford climax roald dahl tilt paul simon sigma yoko ono emi eaten camelot james joyce gnome syd pollock jenner abbey road gog rock music cautionary tales brian wilson elektra lewis carroll relics roger waters haydn jeff beck notting hill arthurian groupies marquee sainsbury willows etta james freak out i ching opel dick clark gilmour howlin edwardian coasters walk like gk chesterton john lee hooker bo diddley wish you were here labour mp tennyson sgt pepper richard wright penny lane twink pinups pat boone anjelica huston syd barrett new left john peel allemande manfred mann nick mason free school amm jimi hendrix experience klose sdp johnny b goode pretty things shine on rubber soul girl guides liberal mps chubby checker american bandstand oar notting hill carnival ray davies psychedelic experiences harrod newport folk festival bandstand elektra records frith bacharach roky erickson steptoe tam lin strawberry fields forever spike milligan soft machine andrew king joker's wild mose allison who do you love saucerful shallots joe boyd geoff emerick rhymer rick wright lodgers radio london distributism entranced ewan maccoll crazy diamond fred frith quaalude incredible string band belloc pete anderson partita no rob chapman track records slim harpo ron grainer addenbrooke what would you say mike leonard emily young cloudberry interstellar overdrive dave gilmour grimble nick kent norman smith ufo club skip spence chris dennis pink fairies first girl i loved jac holzman arnold layne malcolm jones dodder smokestack lightnin tilt araiza
Roadcase
Martin Earley and Callie Peters (The Ballroom Thieves)

Roadcase

Play Episode Listen Later Oct 20, 2022 80:22


Welcome to Roadcase!!  We're super psyched to present to you Martin Earley and Callie Peters of The Ballroom Thieves for this episode. Tireless road warriors Martin and Callie are back on tour on the heels of their latest album, Clouds, which is a stellar work of beauty and upbeat vibes. While these amazing artists both struggle with mental health issues, they confront their world head-on in their latest release while at the same time they exude a lively and fun onstage presence. Their determination to return to touring, get in touch with their fans, and perform their music in a live setting shows a unique level of perseverance and desire to spread their message of hope and gratitude. This special interview demonstrates the beauty and struggle that self-awareness and the willingness to confront one's own unique issues can bring to bear.  So hop on board the Roadcase bus to learn more about The Ballroom Thieves. It's gonna be a great ride!! For more about The Ballroom Thieves click:https://www.ballroomthieves.com/For more information: https://linktr.ee/roadcasepod and https://www.roadcasepod.comContact: info@roadcasepod.comTheme music:  "Eugene (Instrumental)" by Waltzer

Red Line Roots
Red Line Roots Podcast Season 2 Episode 12: Thomas Rhyant

Red Line Roots

Play Episode Listen Later Oct 10, 2022 35:38


Thomas Rhyant: Further OnThomas Rhyant recorded his debut solo album, Love Lifted Me,  in about forty-five minutes of first-takes. I guess when you're this good, you just walk in the studio and make a record. I had the good fortune to hear Thomas perform at Newport Folk Festival last summer, as part of the Spiritual Helpline Gospel Revue. Thomas played guitar and sang in the group that also featured Sister Lena Mae Perry, The Union, Phil Cook and the Guitarheels. And when he sang–well, I'm not sure I've seen people that surprised and awed in a long while. He can hit falsetto notes that are simply out of reach for the vast majority of singers. Love Lifted Me is a spare, gorgeous record. Most songs are just Thomas and an acoustic guitar. Interview by Ken Templeton

Culture Gabfest
Culture Gabfest: Heteronormative Nonsense

Culture Gabfest

Play Episode Listen Later Oct 5, 2022 59:57 Very Popular


This week, the panel begins by discussing the moral quandaries surrounding Netflix's newest hit Dahmer—Monster: The Jeffrey Dahmer Story. Then, the panel breaks down the successes and failures of Billy Eichner's gay romcom Bros. And finally, the panel lends their opinions on the trope of the wife guy, spurred on by Ned Fulmer's (formerly of the Try Guys) recent adultery scandal. In Slate Plus, the panel discusses society's growing appetite for true crime. Email us at culturefest@slate.com. Endorsements Dana: Pulling a Steve with a local endorsement: the new bookstore (offering new and used books) in Park Slope called Troubled Sleep. Julia: The American Military Museum, aka Tankland, in El Monte, California. It has over 150 odd, decommissioned military vehicles jam-packed in a dusty parking lot which they used to provide for various film and entertainment productions. Also, if you make the trip then also stop at Burritos La Palma in El Monte. Steve: From the 2022 Newport Folk Festival: singer-songwriter Brandi Carlile bringing legendary singer-songwriter Joni Mitchell back on stage for her first full set performance in decades. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "If Only I Was a Poet" by Staffan Carlen. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

Slate Daily Feed
Culture Gabfest: Heteronormative Nonsense

Slate Daily Feed

Play Episode Listen Later Oct 5, 2022 59:57


This week, the panel begins by discussing the moral quandaries surrounding Netflix's newest hit Dahmer—Monster: The Jeffrey Dahmer Story. Then, the panel breaks down the successes and failures of Billy Eichner's gay romcom Bros. And finally, the panel lends their opinions on the trope of the wife guy, spurred on by Ned Fulmer's (formerly of the Try Guys) recent adultery scandal. In Slate Plus, the panel discusses society's growing appetite for true crime. Email us at culturefest@slate.com. Endorsements Dana: Pulling a Steve with a local endorsement: the new bookstore (offering new and used books) in Park Slope called Troubled Sleep. Julia: The American Military Museum, aka Tankland, in El Monte, California. It has over 150 odd, decommissioned military vehicles jam-packed in a dusty parking lot which they used to provide for various film and entertainment productions. Also, if you make the trip then also stop at Burritos La Palma in El Monte. Steve: From the 2022 Newport Folk Festival: singer-songwriter Brandi Carlile bringing legendary singer-songwriter Joni Mitchell back on stage for her first full set performance in decades. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "If Only I Was a Poet" by Staffan Carlen. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

Rock N Roll Pantheon
Rock's Backpages: Jason King on Queen + Sylvester + Boy George + Beyoncé

Rock N Roll Pantheon

Play Episode Listen Later Sep 13, 2022 92:24


In this episode, we invite Jason King to tell us about his multi-faceted career, from his Canadian upbringing to his chairmanship of Brooklyn's Clive Davis Institute of Recorded Music.Along the way, Jason talks about his writing on LGBTQ icons from Sylvester and Luther Vandross to Queen's Freddie Mercury, of whom he is writing a major biography. Jason recalls writing for Vibe and the Village Voice in the Noughties, listens to clips from Bill Brewster's 2002 audio interview with Boy George and discusses the brilliant career of — and new album by — Beyoncé.After Jason and his co-hosts pay homage to revered Warner-Reprise chief Mo Ostin, Mark quotes from newly-added library pieces about John Lennon, the Jam, AC/DC and Primal Scream. Jasper rounds things off with remarks on a 1998 interview with Mo Ostin signing Prince, then known as "The Artist Formerly Known as..."Many thanks to special guest Jason King. Find him on Instagram and Twitter @jasonkingsays.Pieces discussed: Little Richard, Queen, Pop's great awokening, Gay soul, Boy George audio, Destiny's Child, Beyoncé, Beyoncé in the movies, Mo Ostin, John Lennon, The Jam, Joan Jett, Primal Scream, Newport Folk Festival, Tim Buckley, AC/DC, Radiohead and Prince.

Red Line Roots
Red Line Roots Podcast Season 2 Episode 11: August Nicholas

Red Line Roots

Play Episode Listen Later Sep 9, 2022 32:52


Autumn Nicholas: (Dis)comfortI had the good fortune to hear Autumn Nicholas at Newport Folk Festival this summer. I was taking photos as she began her song to start the Black Opry Revue set. And, after just a few notes, I had to stop snapping pictures because I had to listen. Her voice and performance were so captivating. After the Festival, I listened to everything she's released on repeat. Autumn's EP Shades of Beige features beautiful songs like “Light” and “Back When.” She's released several singles since that 2020 EP, including the powerful anthems, “On a Sunday,” and “Not Gonna Do This Anymore.” Autumn is an incredible songwriter and artist and I am so thankful that she joined us for the latest episode of the Red Line Roots podcast! Give it a listen, share with a friend, and make sure you catch Autumn on tour!Interview by Ken TempletonEdited by Brian Carroll

No Guitar Is Safe
155 - Yasmin Williams' Thrilling Steel-String Approaches

No Guitar Is Safe

Play Episode Listen Later Aug 18, 2022 59:53


New guitar hero alert! Virtuoso steel-string fingerstylist and composer YASMIN WILLIAMS is a guitar star on the rise. In this exclusive interview, the young Washington D.C.-based guitarist performs her solo pieces and riffs for you, and demonstrates the techniques and inspirations that are the hallmarks of her captivating style — a shimmering sound that has landed her appearances everywhere from NPR's Tiny Desk concert series to the Kennedy Center to features in the New York Times and other huge news outlets to a solo set at the Newport Folk Festival. She also busts out a dulcimer hammer (whaaat?) and shows you “Karate chop harmonics.” Love this episode? Thank TASCAM and the Tascam Mixcast 4 for bringing it to you. Thank you, Tascam! No Guitar Is Safe podcast, “The guitar show where guitar heroes plug in,” is created and hosted by JUDE GOLD.

Y’all Hearing This?!
Episode 9- Kay's Birthday!

Y’all Hearing This?!

Play Episode Listen Later Aug 17, 2022 35:48


Welcome back to Y'all Hearing This! This week we are celebrating Kay's birthday with a surprise theme of her choosing for Honeybee- best live performances! Stick around for Kay's birthday wishes, hopes, and dreams in our Say What?!? segment.Check out our Youtube channel to listen to our songs and see the reactions to Joni Mitchell's "Both Sides Now" live at the 2022 Newport Folk Festival and Toni Braxton's "Unbreak My Heart" live at the AMAs.https://www.youtube.com/c/Y'allHearingThisWithKayandHoneybeeWe want to hear from you! Tell us what you would pick for our theme this week:https://www.instagram.com/yallhearingthis/https://twitter.com/yhtpodhttps://www.facebook.com/yallhearingthisyallhearingthispod@gmail.comSupport us over on Patreon for exclusive content:https://www.patreon.com/yallhearingthisMerch now available!https://www.redbubble.com/shop/ap/115388475Theme music by TAVAmusic

LYRICS FOR LUNCH
Long Live Joni Mitchell and Her Beloved "Both Sides Now"

LYRICS FOR LUNCH

Play Episode Listen Later Aug 12, 2022 88:22


In our first episode of season 2, we look at the life that shaped the Joni Mitchell legacy—and how her real and raw ballad "Both Sides Now" has become a media darling and cult classic in its own right. It wasn't always Moons and Junes and Fairytales for Mitchell, who first performed "Both Sides Now" at the age of 23. But she sure made magic out of misery. This week, we honor the grace and glory of one of the great poets and musical masterminds of this generation. It sure is good to be back. **A few weeks after this episode was recorded, Joni Mitchell recaptured the hearts of music lovers everywhere with her surprise set alongside Brandi Carlile at Newport Folk Festival that included a heartfelt rendition of “Both Sides Now.” We highly recommend checking it out if you haven't yet had the pleasure of watching it. --- Support this podcast: https://anchor.fm/lyricsforlunch/support

Inspired Artist
Porter Singer - FINDING YOUR TRUTH

Inspired Artist

Play Episode Listen Later Aug 12, 2022 23:03


In this episode I discuss my love-hate relationship with performances. Namely, I love watching them, but I'm as into creating them. I talk about seeing Illiza Schlesinger, O (Cirque du Soleil), Jason Mraz, and Newport Folk Festival... and how wonderful they all were. But mainly, I bring the point home of why I love recording best of all. Finding your truth--what you actually love to do--as an artist is a big deal. #lovewhatyoudo #dowhatyoulove #jasonmraz #illizaschesinger #cirquedusoleil #newportfolkfestival #jonimitchell ------------ ABOUT YOUR HOST: Porter Singer is a spiritually-inclined musician, emotional fluency coach, podcaster and the founder of Body Cello. Her intention is to beam out a harmonious vibration that gathers lightworkers in collaborative community.  More info: https://portersinger.com/ ------------ Music credits: INTRO: "Don't Worry, Be Happy (Instrumental)" by Porter Singer and Songs of Eden, OUTRO: "If You Want to Sing Out, Sing Out (Instrumental) by Porter Singer and Songs of Eden ------------ *AFFILIATE LINKS* (support the podcast when you buy or join)   EARTH BREEZE LAUNDRY SHEETS ~ These Earth-friendly dehydrated laundry sheets will leave your clothes super clean, without the waste of bulky plastic containers. The referral money we get from YOU clicking on that link and ordering will help sustain this podcast AND help care for our beautiful Earth. Thank you in advance! MORE INFO: https://www.earthbreeze.com/?rfsn=6157640.8b8358

Inside Job
122: Jealousy and Envy - What Brandi Carlile Taught Us

Inside Job

Play Episode Listen Later Aug 9, 2022 34:17


Today on the podcast, we talk through our ability to confront and explore those feelings that prevent us from celebrating the contributions of others. We open the show with a discussion of Joni Mitchell's performance at The Newport Folk Festival, 10 years after a severe brain injury. Brandi Carlile's relationship with and support of Joni Mitchell is a model for how we can appreciate someone else's work without jealousy, envy, and comparison, which is at the heart of today's topic.   Inside Job is brought to you by Nayla Bahri and Eric Johnson. To learn more about the ideas and resources discussed in this episode, us and our work, and to join our mailing list, visit the show notes. To learn more about the ideas and resources discussed in this episode, us and our work, and to join our mailing list, visit insidejobthepodcast.com. You can also continue the conversation with us through your favorite social channels: LinkedIn Eric | Nayla Instagram Facebook Email We'd love to hear from you.

Rock's Backpages
E133: Jason King on Queen + Sylvester + Boy George + Beyoncé

Rock's Backpages

Play Episode Listen Later Aug 8, 2022 92:24 Very Popular


In this episode, we invite Jason King to tell us about his multi-faceted career, from his Canadian upbringing to his chairmanship of Brooklyn's Clive Davis Institute of Recorded Music.Along the way, Jason talks about his writing on LGBTQ icons from Sylvester and Luther Vandross to Queen's Freddie Mercury, of whom he is writing a major biography. Jason recalls writing for Vibe and the Village Voice in the Noughties, listens to clips from Bill Brewster's 2002 audio interview with Boy George and discusses the brilliant career of — and new album by — Beyoncé.After Jason and his co-hosts pay homage to revered Warner-Reprise chief Mo Ostin, Mark quotes from newly-added library pieces about John Lennon, the Jam, AC/DC and Primal Scream. Jasper rounds things off with remarks on a 1998 interview with Mo Ostin signing Prince, then known as "The Artist Formerly Known as..."Many thanks to special guest Jason King. Find him on Instagram and Twitter @jasonkingsays.Pieces discussed: Little Richard, Queen, Pop's great awokening, Gay soul, Boy George audio, Destiny's Child, Beyoncé, Beyoncé in the movies, Mo Ostin, John Lennon, The Jam, Joan Jett, Primal Scream, Newport Folk Festival, Tim Buckley, AC/DC, Radiohead and Prince.

Artist Soapbox * Local Artists on Creative Process
166: Depth of Experience with singer-songwriter, Jess Klein

Artist Soapbox * Local Artists on Creative Process

Play Episode Listen Later Aug 8, 2022 30:21 Transcription Available


It's Juliana Finch and Jess Klein! Jess Klein is an incredible songwriter-singer-performer, who has toured the world with her unbelievable music. She's been in the game long enough to know that creative cycles are normal and natural, and she approaches her process with a kind of ease that can inspire us all. Jess just finished producing an album that's coming out in the fall titled In the Arms of a Song. Do what you can to find Jess Klein and listen and have a good cry. In the meantime, enjoy this episode. https://jessklein.com/home (Jess Klein Website) Instagram: https://www.instagram.com/msjessklein/ (@msjessklein) BIO: Over a career that spans two decades and has won her a devoted worldwide fan base, Jess Klein—who possesses what Mojo magazine calls “one of those voices you want to crawl up close to the speakers to listen to” has pursued a remarkable creative evolution that's seen her dig ever deeper for resonant emotional insights, while continuing to refine her eloquently melodic, effortlessly accessible songcraft.  The Rochester, NY native began writing songs as a college student in Kingston, Jamaica. Jess spent eight years soaking up the live music culture of Austin, TX. Bootleg (2015) Jess's live, full band album captures the dynamism of Jess onstage, backed by some of Austin's top players. Jess was named a 2015 Finalist in the highly regarded Kerrville New Folk Competition.  In 2016, Jess and her husband, songwriter Mike June moved to tiny but vibrant Hillsborough, North Carolina where she recorded 2019's Back to My Green.  Klein has performed to rapt audiences at the Newport Folk Festival, Winnipeg Folk Festival, Fuji Rock Festival in Japanand packed houses in notable listening rooms like Joe's Pub, NYC, The Borderline in London, Club Passim in Boston and Fogartyville in Sarasota, FL. She has appeared on Good Morning America and NPR's All Things Consideredand toured across the US, Europe and Japan on her own and with such artists as Arlo Guthrie, John Fullbright and Carlene Carter.  Jess's new album is currently in production and due out shortly. LISTEN TO ASBX AUDIO DRAMAS:https://artistsoapbox.org/masterbuilder/ (Master Builder) https://www.thenewcolossuspodcast.com/ (The New Colossus) https://artistsoapbox.org/declaration-of-love/ (Declaration of Love audio anthology) https://artistsoapbox.org/audio-dramas/asbx-shorts/ (ASBX Shorts) CONNECT AND FOLLOW: Artist Soapbox on social media: Twitter: https://twitter.com/artist_soapbox (@artist_soapbox) Instagram: @https://www.instagram.com/artistsoapbox/ (artistsoapbox) Facebook: https://www.facebook.com/artistsoapboxpodcast/ (https://www.facebook.com/artistsoapboxpodcast/) CONTRIBUTE: Soapboxers are the official patrons of the Artist Soapbox podcast. http://www.patreon.com/artistsoapbox (Get on the Soapbox with us at Patreon )or make a one-time donation via Ko-fi at https://ko-fi.com/artistsoapbox (https://ko-fi.com/artistsoapbox) or via PayPal at https://www.paypal.me/artistsoapbox?ppid=PPC000628&cnac=US&rsta=en_US(en_US)&cust=A55YE26SQPDL8&unptid=bcec7a46-337d-11e8-9bbe-9c8e992da578&t=&cal=cb540804e2cda&calc=cb540804e2cda&calf=cb540804e2cda&unp_tpcid=ppme-social-user-profile-created&page=main:email&pgrp=main:email&e=op&mchn=em&s=ci&mail=sys (PayPal.Me/artistsoapbox.) If you would like to make a tax-deductible donation, please consider our non-profit https://fundraising.fracturedatlas.org/soapbox-audio-collective (Soapbox Audio Collective).

Bob Dylan: About Man and God and Law
26: Bob Dylan Goes Electric with Kathryn Lofton

Bob Dylan: About Man and God and Law

Play Episode Listen Later Aug 7, 2022 73:25 Very Popular


We are going electric with Bob Dylan and  Professor Kathryn Lofton. Few pop culture moments have been analyzed more closely than Bob Dylan "going electric" at the 1965 Newport Folk Festival. We ask what is all means for American religion, race, and music with our special guest, Kathryn Lofton.Kathryn is the Lex Hixon Professor of Religious Studies and American Studies, Professor of History and Divinity, and FAS Dean of Humanities at Yale University. She has written extensively about capitalism, popular culture, and the secular, from her first book, Oprah: The Gospel of an Icon (2011) to the book Consuming Religion (2017), parsing the  relationship between religion and consumer capitalism from the Kardashian family to  Goldman Sachs. Her article on Dylan going electric in the Journal of Popular Music Studies knocked us off our feet. Enjoy this wide-ranging conversation about some of our most favorite topics in rock music, the life of the spirit, and more. Check out the book About Man and God and Law: The Spiritual Wisdom of Bob Dylan wherever fine books are sold, and learn about related projects at mangodlaw.com.We are proud to be part of the Pantheon Podcasts Network.  

Rolling Stone Music Now
How Joni Mitchell Became a Millennial and Gen-Z Hero

Rolling Stone Music Now

Play Episode Listen Later Aug 5, 2022 59:53 Very Popular


We celebrate the work of Joni Mitchell, with Cameron Crowe discussing his legendary 1979 Mitchell interview, and guitarist Larry Carlton talking about playing with Mitchell on some of her greatest songs. Angie Martoccio takes us through the peaks of Mitchell's discography, and Jonathan Bernstein gives a first-hand account of her stunning Newport Folk Festival comeback performance Learn more about your ad choices. Visit podcastchoices.com/adchoices

You Should Check It Out
#156 - Viral or Eyeroll: Beyoncé | Newport Folk Festival | Chat Pile

You Should Check It Out

Play Episode Listen Later Aug 4, 2022 47:48


This week we celebrate our first Beyoncé album since starting the show. Nick felt like the only proper way to celebrate this was to quiz Jay & Greg on their Beyoncé knowledge. That's right, it's time for “Viral or Eyeroll”!Song: Beyoncé - “Move”Greg is joining us from Cyprus this week, possibly making this our first international broadcast as well, and he's got some news and songs from this year's Newport Folk Festival. We also do shout outs to Kaz's extended family and thank them for their generous hospitality (and for keeping Greg safe)!Song: Joni Mitchell (and many more) - “Big Yellow Taxi”This past week a band called Chat Pile has been popping up all over the music news with their new album “God's Country”. Jay takes us on a dark & terrifying tour of the new album from the Oklahoma noise rock group. It's not the kind of album you'd expect Jay to present, which made the conversation all the more interesting and special.Songs:Chat Pile - “Slaughterhouse”Chat Pile - “Why”We're officially calling this the last episode of Season 3 and we can't thank you enough for listening! We'll be back next week to kickoff Season 4!

Roadcase
Special Newport Folk Festival Series: Part 3 featuring Phil Cook, John Cragie and Nick Sanborn and Amelia Heath (Sylvan Esso)

Roadcase

Play Episode Listen Later Aug 3, 2022 68:38


Welcome back to Roadcase for the Final Installment of this special three-part Interview Series from Newport Folk Festival, which took place July 22-24 in Newport, Rhode Island!!  For this last Newport episode, we're super pumped to have Phil Cook, John Cragie and Sylvan Esso (Nick Sanborn and Amelia Heath) join Roadcase for more EPIC interviews and intimate sit-downs. Day 3 promised to be another incredible day of music (and far less humidity) --  and as the day opened, festival goers were still buzzing about the appearance  of Paul Simon the prior evening at a tribute set honoring his musical legacy.  Our three guests on this last day are no strangers to the long tradition at Newport Folk of not only collaborations and honoring the careers of those who have provided music fans with so much joy, but also the spirit of new and up-and-coming artists who are playing Newport for the first time.  Phil, John, Amelia and Nick talk to Josh about what Newport means to them, how the festival has shaped their careers and what live performance means to them. So let's head out to the Media Tent for the last time at this 2022 Festival and get set to laugh, maybe cry, and definitely rejoice over the amazing musical offerings at this historic festival. And get ready to return to the Fort on July 28-30, 2023 for next year's Newport Folk Festival !!   To learn even more about these extraordinary artists click the below links:Phil Cook:  https://philcookmusic.com/John Cragie: https://johncraigiemusic.com/Sylvan Esso: https://www.sylvanesso.com/For more information about Roadcase Podcast click here: https://linktr.ee/roadcasepod and https://www.roadcasepod.comContact us by email: info@roadcasepod.comTheme music:  "Eugene (Instrumental)" by Waltzer

DISGRACELAND
Disgraceland Talks Britney Spears: Pt 2 (After Party Bonus Episode)

DISGRACELAND

Play Episode Listen Later Aug 2, 2022 29:17 Very Popular


Jake, episode writer Victoria Wasylak, and producer Taylor hit you baby one more time with a report from Jake's performance at Newport Folk Festival, the latest real-life news from Britney-world, the comparisons between Britney's conservatorship and Elvis Presley's exploitive management, and more. Join the conversation on social @disgracelandpod on TikTok and Instagram and catch every episode's After Party live at Twitch.tv/DisgracelandTalksTo hear all episodes of Disgraceland for free, visit amazon.com/disgraceland. Show notes are available at disgracelandpod.com. Follow us @disgracelandpod on Instagram, Twitter, and Facebook for music news, bonus episodes, and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Imbalanced History of Rock and Roll
The Man: Bob Dylan

The Imbalanced History of Rock and Roll

Play Episode Listen Later Aug 1, 2022 53:48 Very Popular


For their first episode of the podcast about Bob Dylan, the Imbalanced Boys spent the last year plus trying to find their way into such a massive topic in the history of music, and rock & roll. After a few false starts, it's "The Man: Bob Dylan," in your app right now! Not the most creative title, but when it boils down to it, he is THE MAN!Future looks at Bob will dig deeper into certain periods of his music, his art, his books...you get the picture.Please check out our sponsors:Boldfoot Socks   https://boldfoot.comCrooked Eye Brewery   https://crookedeyebrewery.com/Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/And check our blog about exciting premier events for Danny Garcia's new film, "Nightclubbing!" 

Roadcase
Special Newport Folk Festival Series: Part 2, featuring Taylor Goldsmith, Cassandra Jenkins and Ryan Anderson

Roadcase

Play Episode Listen Later Aug 1, 2022 68:14


Welcome back to Roadcase for this Part 2 of a three-part Special Interview Series from Newport Folk Festival, which took place July 22-24 in Newport, Rhode Island!! We're super psyched to continue to present these EPIC artist interviews -- and for this Part 2 installment,  we're elated to have sat down on the couch for up-close and personal interviews with Taylor Goldsmith of Dawes, with Cassandra Jenkins and with Ryan Anderson of Bendigo Fletcher. As Day 2 opens at the Festival, the sets were coming in hot, and the conversation flowed easily -- we talk collaborations, latest releases and about what Newport Festival means to each artist and how their creative lives have been shaped by live performance.  So let's head out to the Media Tent in the middle of Fort Adams to learn more about what these artists have on their minds during this historic festival. Enjoy, and stay tuned for the final installment, Part 3, coming up later this week!!To learn even more about these extraordinary artists click the below links:Dawes: https://dawestheband.com/Cassandra Jenkins: https://cassandrajenkins.com/Bendigo Fletcher: https://www.bendigofletcher.com/ For more information about Roadcase Podcast click here: https://linktr.ee/roadcasepod and https://www.roadcasepod.comContact us by email: info@roadcasepod.comTheme music:  "Eugene (Instrumental)" by Waltzer

Roadcase
Special Newport Folk Festival Series: Part 1

Roadcase

Play Episode Listen Later Jul 30, 2022 64:21


Welcome to Roadcase for Part 1 of this three-part interview series from Newport Folk Festival, which took place July 22-24 in Newport, Rhode Island!! Josh was on the ground at this historic festival for tons of artist interviews and we're happy to present these to our amazing listeners in this special series. For today's Part 1 Episode, we're proud to have with us Ryan Gustafson of The Dead Tongues, the extraordinary singer songwriter Madi Diaz, as well as Kristian Matsson aka The Tallest Man on Earth. The collaborative, warm and fun vibe of Newport Folk is on full display in these interviews as we explore the artists' mindsets, artistic backgrounds and attitude towards live performance in these intimate sit-downs.  So hop on the Ferry and journey across the bay to Fort Adams to learn more about what these artists are really all about. Enjoy and stay tuned for Parts 2 and 3 coming up this week!!To learn even more about these extraordinary artists click the below links:The Dead Tongues: https://www.thedeadtongues.com/Madi Diaz: https://madidiaz.com/The Tallest Man on Earth: https://www.thetallestmanonearth.com/For more information about Roadcase Podcast click here: https://linktr.ee/roadcasepod and https://www.roadcasepod.comContact us by email: info@roadcasepod.comTheme music:  "Eugene (Instrumental)" by Waltzer

WOW Report
Keke Palmer! Daniel Kaluuya! Paul Newman! Joanne Woodward! Joni Mitchell! The WOW Report for Radio Andy!

WOW Report

Play Episode Listen Later Jul 29, 2022 49:35


Tune in every Friday for more WOW Report. 10) Hot Stream: The Last Movie Stars @00:50 9) Hot Flick: Nope @08:42 8) Yeezy Does Gap @12:38 7) Joni Mitchell Returns to Stage at the Newport Folk Festival @19:40 6) Hot Flick 2: The Gray Man @23:26 5) Trend Alert: Cannibal Books! @27:08 4) Death Becomes Them @33:58 3) Hot Flick 3: The Bob's Burgers Movie @39:37 2) NO Sex in Space @41:54 1) Senator Votes Against Gays; Attends Gay Son's Wedding @46:37

In Your Right Mind with Monique Rhodes

If you haven't yet seen the video of Joni Mitchell appearing at the Newport Folk Festival this week, then I encourage you to watch it. It touched me so deeply in my heart.  If you like this podcast, we would love you to give a review. Here is how you do it.

Political Gabfest
Did You Apologize to Manchin Yet?

Political Gabfest

Play Episode Listen Later Jul 28, 2022 55:25 Very Popular


This week, David Plotz, John Dickerson, and Emily Bazelon discuss the surprise deal for climate legislation, new January 6th revelations, and the deadliest road in America.  Here are some notes and references from this week's show: Carol D. Leonnig, Devlin Barrett, Josh Dawsey and Spencer S. Hsu for The Washington Post: “Justice Dept. Investigating Trump's Actions In Jan. 6 Criminal Probe” Carol D. Leonnig and Maria Sacchetti for The Washington Post: “Secret Service Watchdog Knew in February That Texts Had Been Purged” Forbidden City, by Vanessa Hua Dan Kaufman for The New Yorker: “Will Wisconsin's Republicans Make Voting Meaningless, or Just Difficult?” Richard L. Hasen for Slate: “What the Critics Get Incredibly Wrong about the Collins-Manchin Election Bill” Marin Cogan for Vox: “The Deadliest Road In America” Robert James Schneider, Rebecca Sanders, Frank Proulx, Hamideh Moayyed for the Journal of Transport and Land Use: “United States Fatal Pedestrian Crash Hot Spot Locations And Characteristics” Unsafe At Any Speed, by Ralph Nader Strong Towns: A Bottom-Up Revolution to Rebuild American Prosperity, by Charles L. Marohn Jr.  Allison Russell's Outside Child John Dickerson for Slate: “Getting Naked Every Night: Girlyman and the Pursuit of Creative Risk.” Here are this week's chatters: Emily: Jonathan Bernstein for Rolling Stone: “‘She Schooled Us All': Inside Joni Mitchell's Stunning Return to Newport Folk Festival”; David McCabe and Mike Isaac for The New York Times: “F.T.C. Sues to Block Meta's Virtual Reality Deal as It Confronts Big Tech” John: Oliver Whang for The New York Times: “‘Parentese' Is Truly a Lingua Franca, Global Study Finds” David: April Rubin and Jesus Jiménez for The New York Times: “4,000 Mistreated Beagles Need Homes. These Folks Stepped Up.” Listener chatter from Mark Allender: The Dollop #283: “James Clark McReynolds, the Worst Supreme Court Justice Ever” Tweet us your questions and chatters @SlateGabfest or email us at gabfest@slate.com. (Messages may be quoted by name unless the writer stipulates otherwise.) Podcast production by Cheyna Roth. Research by Bridgette Dunlap. Learn more about your ad choices. Visit megaphone.fm/adchoices

Slate Daily Feed
Political Gabfest: Did You Apologize to Manchin Yet?

Slate Daily Feed

Play Episode Listen Later Jul 28, 2022 55:25 Very Popular


This week, David Plotz, John Dickerson, and Emily Bazelon discuss the surprise deal for climate legislation, new January 6th revelations, and the deadliest road in America.  Here are some notes and references from this week's show: Carol D. Leonnig, Devlin Barrett, Josh Dawsey and Spencer S. Hsu for The Washington Post: “Justice Dept. Investigating Trump's Actions In Jan. 6 Criminal Probe” Carol D. Leonnig and Maria Sacchetti for The Washington Post: “Secret Service Watchdog Knew in February That Texts Had Been Purged” Forbidden City, by Vanessa Hua Dan Kaufman for The New Yorker: “Will Wisconsin's Republicans Make Voting Meaningless, or Just Difficult?” Richard L. Hasen for Slate: “What the Critics Get Incredibly Wrong about the Collins-Manchin Election Bill” Marin Cogan for Vox: “The Deadliest Road In America” Robert James Schneider, Rebecca Sanders, Frank Proulx, Hamideh Moayyed for the Journal of Transport and Land Use: “United States Fatal Pedestrian Crash Hot Spot Locations And Characteristics” Unsafe At Any Speed, by Ralph Nader Strong Towns: A Bottom-Up Revolution to Rebuild American Prosperity, by Charles L. Marohn Jr.  Allison Russell's Outside Child John Dickerson for Slate: “Getting Naked Every Night: Girlyman and the Pursuit of Creative Risk.” Here are this week's chatters: Emily: Jonathan Bernstein for Rolling Stone: “‘She Schooled Us All': Inside Joni Mitchell's Stunning Return to Newport Folk Festival”; David McCabe and Mike Isaac for The New York Times: “F.T.C. Sues to Block Meta's Virtual Reality Deal as It Confronts Big Tech” John: Oliver Whang for The New York Times: “‘Parentese' Is Truly a Lingua Franca, Global Study Finds” David: April Rubin and Jesus Jiménez for The New York Times: “4,000 Mistreated Beagles Need Homes. These Folks Stepped Up.” Listener chatter from Mark Allender: The Dollop #283: “James Clark McReynolds, the Worst Supreme Court Justice Ever” Tweet us your questions and chatters @SlateGabfest or email us at gabfest@slate.com. (Messages may be quoted by name unless the writer stipulates otherwise.) Podcast production by Cheyna Roth. Research by Bridgette Dunlap. Learn more about your ad choices. Visit megaphone.fm/adchoices

Inspired Artist
Seeing Joni Mitchell Live at Newport Folk Festival Last Weekend

Inspired Artist

Play Episode Listen Later Jul 28, 2022 43:16


Sometimes you're just in the right place at the right time. The sunflowers led me there... This podcast includes footage I took during the concert, both from Brandi Carlile and the "Joni Jam" with Joni Mitchell. I hope you enjoy the recap of this epic event!! Love, Porter For video podcast: https://www.youtube.com/watch?v=CEKkJ6uOARI&t=135s #jonimitchell #brandicarlile #newportfolkfestival ------------ ABOUT YOUR HOST: Porter Singer is a spiritually-inclined musician, emotional fluency coach, podcaster and the founder of Body Cello. Her intention is to beam out a harmonious vibration that gathers lightworkers in collaborative community.  More info: https://portersinger.com/ ------------ Music credits: INTRO: "Don't Worry, Be Happy (Instrumental)" by Porter Singer and Songs of Eden, OUTRO: "If You Want to Sing Out, Sing Out (Instrumental) by Porter Singer and Songs of Eden ------------ *AFFILIATE LINKS* (support the podcast when you buy or join)   EARTH BREEZE LAUNDRY SHEETS ~ These Earth-friendly dehydrated laundry sheets will leave your clothes super clean, without the waste of bulky plastic containers. The referral money we get from YOU clicking on that link and ordering will help sustain this podcast AND help care for our beautiful Earth. Thank you in advance! MORE INFO: https://www.earthbreeze.com/?rfsn=6157640.8b8358

Trumpcast
Political Gabfest: Did You Apologize to Manchin Yet?

Trumpcast

Play Episode Listen Later Jul 28, 2022 55:25


This week, David Plotz, John Dickerson, and Emily Bazelon discuss the surprise deal for climate legislation, new January 6th revelations, and the deadliest road in America.  Here are some notes and references from this week's show: Carol D. Leonnig, Devlin Barrett, Josh Dawsey and Spencer S. Hsu for The Washington Post: “Justice Dept. Investigating Trump's Actions In Jan. 6 Criminal Probe” Carol D. Leonnig and Maria Sacchetti for The Washington Post: “Secret Service Watchdog Knew in February That Texts Had Been Purged” Forbidden City, by Vanessa Hua Dan Kaufman for The New Yorker: “Will Wisconsin's Republicans Make Voting Meaningless, or Just Difficult?” Richard L. Hasen for Slate: “What the Critics Get Incredibly Wrong about the Collins-Manchin Election Bill” Marin Cogan for Vox: “The Deadliest Road In America” Robert James Schneider, Rebecca Sanders, Frank Proulx, Hamideh Moayyed for the Journal of Transport and Land Use: “United States Fatal Pedestrian Crash Hot Spot Locations And Characteristics” Unsafe At Any Speed, by Ralph Nader Strong Towns: A Bottom-Up Revolution to Rebuild American Prosperity, by Charles L. Marohn Jr.  Allison Russell's Outside Child John Dickerson for Slate: “Getting Naked Every Night: Girlyman and the Pursuit of Creative Risk.” Here are this week's chatters: Emily: Jonathan Bernstein for Rolling Stone: “‘She Schooled Us All': Inside Joni Mitchell's Stunning Return to Newport Folk Festival”; David McCabe and Mike Isaac for The New York Times: “F.T.C. Sues to Block Meta's Virtual Reality Deal as It Confronts Big Tech” John: Oliver Whang for The New York Times: “‘Parentese' Is Truly a Lingua Franca, Global Study Finds” David: April Rubin and Jesus Jiménez for The New York Times: “4,000 Mistreated Beagles Need Homes. These Folks Stepped Up.” Listener chatter from Mark Allender: The Dollop #283: “James Clark McReynolds, the Worst Supreme Court Justice Ever” Tweet us your questions and chatters @SlateGabfest or email us at gabfest@slate.com. (Messages may be quoted by name unless the writer stipulates otherwise.) Podcast production by Cheyna Roth. Research by Bridgette Dunlap. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chart Your Career
Ep 78 Uranian Magic

Chart Your Career

Play Episode Listen Later Jul 27, 2022 39:07


Heidi and Ellen talk about the New Moon and next week's Mars/Uranus/North Node conjunction (4:01). Then they take questions from Vee and Amy. Vee has been working as an architect for the past 8 years, has changed jobs 4 times, and has worked in 3 different states. Nothing helps her ennui and she feels stuck. While she is thinking of pivoting to the financial side of things, what she is really itching for is to draw and paint and open an online store.  She wonders if she should take the leap (11:50). Amy has been a librarian for 25 years. Her life is full, but she feels something is missing career-wise. She recently wrote a Young Adult paranormal romance, has a podcast with a friend, reads tarot, and tends to her huge garden. She asks if she should pick just one thing and focus her energies (22:36). Heidi and Ellen then talk about the series, The Last Movie Stars which follows the careers and personal lives of Paul Newman and Joanne Woodward, the series Loot with Maya Rudolph, and the Joni Mitchell concert at the Newport Folk Festival that was nothing short of magical (32:07). 

Connections with Evan Dawson
Discussing the impact of Joni Mitchell's music

Connections with Evan Dawson

Play Episode Listen Later Jul 27, 2022 42:14


In the second hour of "Connections with Evan Dawson" on Tuesday, July 26, 2022, Joni Mitchell fans discuss the impact of her music, following her surprise performance at the Newport Folk Festival on Sunday.

The Smart 7 Ireland Edition
Nobel Peace Prize Winner David Trimble dies, 4 road deaths in 24 hours, Tory Leadership debate, Sam McGuire heads to the Kingdom and Joni Mitchell at the Newport Folk Festival

The Smart 7 Ireland Edition

Play Episode Listen Later Jul 26, 2022 7:18


The Smart 7 Ireland Edition is the daily news podcast that gives you everything you need to know in 7 minutes, at 7am, 7 days a week… Consistently appearing in Ireland's Daily News charts, we're a trusted source for people every day. If you're enjoying it, please follow, share or even post a review, it all helps… Today's episode includes references to the following items: https://twitter.com/i/status/1541749301029863424https://twitter.com/i/status/1541749301029863424https://twitter.com/adavies4/status/984002048424316928?s=20&t=91pR5b7FmarXxO5UHO_SUghttps://www.rte.ie/news/2022/0725/1312013-limerick-fatal-crash/https://twitter.com/i/status/1551663629178748932https://twitter.com/i/status/1551667066574446595https://twitter.com/i/status/1551681906999234561https://twitter.com/i/status/1551677071008710656https://twitter.com/i/status/1551479095724314625 https://twitter.com/i/status/1551627878315528193https://twitter.com/i/status/1551640271636627456https://people.com/tv/natalie-portman-and-bear-grylls-filter-water-through-his-underwear-in-exclusive-running-wild-cliphttps://twitter.com/i/status/1551500933435203584Contact us over at Twitter or visit www.thesmart7.com Presented by Ciara Revins, written by Liam Thompson and produced by Daft Doris. See acast.com/privacy for privacy and opt-out information.

Marketplace All-in-One
No, we’re not in a recession

Marketplace All-in-One

Play Episode Listen Later Jul 26, 2022 14:21


Second-quarter reports on the economy are coming in this week, as well as corporate financial results. The expectation is that gross domestic product will take a dip for the second consecutive quarter. But don’t start in with the R-word. Kai and Marketplace’s Amy Scott discuss why this isn’t a recession (seriously). We’ll also discuss some energy news from overseas, including Russia’s decision to restrict its supply of natural gas to Europe. And Kai’s got an opinion on teasers that are “too teasy.” Here’s everything we talked about on the show today: Axios correspondent Neil Irwin shared this tweet regarding “recession” coverage “Biden: ‘We’re not going to be in a recession’” from Axios “Russia cuts gas deliveries to Europe via Nord Stream 1” from The Financial Times “How London Paid a Record Price to Dodge a Blackout” from Bloomberg Marvel Studios' Black Panther: Wakanda Forever | Official Teaser “Joni Mitchell sings, steals show with surprise Newport Folk Festival concert” from NPR Have thoughts or questions for the show? Share them with us at makemesmart@marketplace.org or leave us a voice message at (508) 827-6278 or (508) U-B-SMART.

Make Me Smart with Kai and Molly
No, we’re not in a recession

Make Me Smart with Kai and Molly

Play Episode Listen Later Jul 26, 2022 14:21


Second-quarter reports on the economy are coming in this week, as well as corporate financial results. The expectation is that gross domestic product will take a dip for the second consecutive quarter. But don’t start in with the R-word. Kai and Marketplace’s Amy Scott discuss why this isn’t a recession (seriously). We’ll also discuss some energy news from overseas, including Russia’s decision to restrict its supply of natural gas to Europe. And Kai’s got an opinion on teasers that are “too teasy.” Here’s everything we talked about on the show today: Axios correspondent Neil Irwin shared this tweet regarding “recession” coverage “Biden: ‘We’re not going to be in a recession’” from Axios “Russia cuts gas deliveries to Europe via Nord Stream 1” from The Financial Times “How London Paid a Record Price to Dodge a Blackout” from Bloomberg Marvel Studios' Black Panther: Wakanda Forever | Official Teaser “Joni Mitchell sings, steals show with surprise Newport Folk Festival concert” from NPR Have thoughts or questions for the show? Share them with us at makemesmart@marketplace.org or leave us a voice message at (508) 827-6278 or (508) U-B-SMART.

Steingarts Morning Briefing – Der Podcast
"Klimawandel macht sich im Wald deutlich bemerkbar."

Steingarts Morning Briefing – Der Podcast

Play Episode Listen Later Jul 26, 2022 25:29


Im Interview: Rudolf Plochmann ist Forstbetriebsleiter bei den Bayerischen Staatsforsten und spricht mit Chelsea Spieker über Waldbrände in Deutschland und der Welt, den Unterschied zwischen Deutschland und den USA und über den Klimawandel. Angela Merkel erscheint nicht beim Bundesparteitag der CDU und brüskiert damit den neuen Parteivorsitzenden Friedrich Merz. Unsere Börsenreporterinnen Anne Schwedt und Annette Weisbach berichten über die schwache Weber-Grill-Aktie und analysieren die VW-Aktie nach dem Abgang von Herbert Diess. Tourismusforscher der Hochschule Bremen haben den “Handtuchkrieg” an Hotel-Swimming Pools im Massentourismus analysiert und ziehen Parallelen zur Corona Pandemie. Zwei Musik-Ikonen überraschen das Publikum beim Newport Folk Festival im US Bundesstaat Rhode Island.

HistoryPod
25th July 1965: American singer-songwriter Bob Dylan goes electric at the Newport Folk Festival

HistoryPod

Play Episode Listen Later Jul 25, 2022


Having come to prominence in the early 1960s with songs that chronicled the social situation in the USA, Dylan's dramatic shift away from his traditional instruments of acoustic guitar and harmonica was said to have, ‘electrified one half of his audience, and electrocuted the ...

PBS NewsHour - Segments
Joni Mitchell surprises fans at Newport Folk Festival

PBS NewsHour - Segments

Play Episode Listen Later Jul 25, 2022 1:52


Playing her first full set in more than 20 years, legendary singer-songwriter Joni Mitchell made a surprise appearance at the Newport Folk Festival, where she last appeared in 1969. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

SHEROES
SHEROES Live at Newport Folk Festival with Sylvan Esso // Amelia Meath

SHEROES

Play Episode Listen Later Jul 24, 2022 18:22


In the midst of what's been a crazy busy weekend for Amelia Meath, being here with the A's on Friday, her record label Psychic Hotline's showcase on Saturday, and a TON of collaborations, she made some time to sit down with Carmel ahead of Sylvan Esso's performance Sunday afternoon - which you may have heard, was a surprise live unveiling of Sylvan Esso's new album No Rules Sandy which drops August 12th!! Hear Amelia talk about the new album, the new label, and charting a path forward that puts art and equality first, ahead of commerce.

SHEROES
SHEROES Live At Newport Folk Festival with Natalie Merchant

SHEROES

Play Episode Listen Later Jul 22, 2022 24:17 Very Popular


The last time Natalie Merchant was at Newport Folk Festival was in 2000, and today Carmel sat down with Natalie on Newport Folk Festival's Foundation Stage, to discuss where her career continues to take her. She revealed plans for a new album (or two), aging in the music business, and what it was like when she first started her career with 10,000 Maniacs.

Red Line Roots
Red Line Roots Podcast Season 2 Episode 8: The Dead Tongues

Red Line Roots

Play Episode Listen Later Jul 18, 2022 31:00


The Dead Tongues: It Doesn't Have to BeI first heard one of Ryan Gustafson's songs at the Phil Cook & Spirit Family Reunion Newport Aftershow in 2016, one of the most joyful musical experiences of my life. Ryan was playing in The Guitarheels, and played “Graveyard Fields,” one of the songs he'd written under the moniker The Dead Tongues. While playing with Hiss Golden Messenger on the Heart Like a Levee tour, Ryan released Unsung Passage, a truly beautiful record. This year, he released Dust, and I cannot recommend the album enough. The songs have so much space in them. They are both rich and spare, lyrically, and the band that Ryan assembled is loose and creative. We got to chat with Ryan ahead of his set at Newport Folk Festival on Friday, July 22. If you're there, be at The Dead Tongues! And if you're not, make sure you give Dust spin. interview by Ken Templetonphoto by Charlie Boss

Red Line Roots
Red Line Roots Podcast Season 2 Episode 7: The Kentucky Gentlemen

Red Line Roots

Play Episode Listen Later Jul 11, 2022 31:52


The Kentucky Gentlemen: Love LanguageIt was such a pleasure to talk with Brandon and Derek Campbell, also known as The Kentucky Gentlemen. The twin brothers moved to Nashville in 2013 and started writing songs. Years of hard work are paying off, as they release their EP The Kentucky Gentlemen, Vol. 1. They've had videos featured on CMT and have been featured in showcases sponsored by The Black Opry, an organization dedicated to changing the fact that Black people have been overlooked in country music, as artists and as fans. The Black Opry Revue set at Newport Folk Festival on Saturday, July 23 is sure to be a highlight of the weekend. We spoke with the Campbell brothers ahead of their appearance at Newport and we can't wait to see them live!Photo Credit: Laura Moll

The Long Island Sound
Bill Scorzari's Contemplative Dialog Begins with a Journey of Beautiful Songs

The Long Island Sound

Play Episode Play 29 sec Highlight Listen Later Jun 2, 2022 64:59 Transcription Available


Bill Scorzari is a New York-based singer-songwriter. Since 2014, he has independently released three albums to date, including, "Just the Same” (2014), “Through These Waves” (2017), and “Now I'm Free” (2019), all to critical acclaim. His forthcoming, 4th album, “The Crosswinds of Kansas,” is anticipated for release on August 19, 2022.Bill has performed at venues and terrestrial radio stations across the country and completed two national tours (“Through These Waves” in 2017 and “Now I'm Free” in 2019). He has opened for such artists as Billy Strings, Whiskey Myers, Big Country and more, and has shared bills with Sarah Jarosz, Sam Outlaw, The Dustbowl Revival, Tall Tall Trees, Seldom Scene, Frank Fairfield, Tom Marion, Zak Sokolow, Jonah Tolchin, Jenni Lyn Gardner (Della Mae), Jeff Scroggins and Colorado, Twisted Pine, and others. Bill's performances of note include AmericanaFest 2016, and Newport Folk Festival 2019 for the “For Pete's Sake” program curated by Chris Funk of The Decemberists. He has opened for such artists as Billy Strings, Whiskey Myers, Big Country, and more, and has shared bills with Sarah Jarosz, Sam Outlaw, The Dustbowl Revival, Tall Tall Trees, Seldom Scene, Frank Fairfield, Tom Marion, Zak Sokolow, Jonah Tolchin, Jenni Lyn Gardner (Della Mae), Jeff Scroggins and Colorado, Twisted Pine, and many more. Bill's performances of note include AmericanaFest 2016, and Newport Folk Festival 2019 for the “For Pete's Sake” program curated by Chris Funk of The Decemberists. Artists who have performed in the studio with Bill, and who appear on Bill's records, include Joachim Cooder, Chris Scruggs, Kim Richey, Laur Joamets, Marie Tomlinson Lewey, Cindy Richardson Walker, Matt Menefee, Kyle Tuttle, Erin Rae, Neilson Hubbard, Will Kimbrough, Eamon McLaughlin, Fats Kaplin, Michael Rinne, Danny Mitchell, Brent Burke, Juan Solorzano, Jonah Tolchin, Danny Roaman, John Estes and more.Connect with The Long Island Sound Podcast:Website: Https://GigDestiny.com/podcast Follow Steve Yusko, GigDestiny.com, and his adventures:  Website: https://www.GigDestiny.com  Twitter, Instagram,  YouTube, FacebookSpotify: https://open.spotify.com/show/21aCeQWDmD4fkucpfVf9Email: Steve@GigDestiny.com Intro/Outro song in this episode:“Fading out Fast” from Mike Nugent's album, Mike Nugent and the Blue Moon BandSpotify link: The growth of The Long Island Sound Podcast has been exponential. Help us grow the show!Subscribe to the GigDestiny.com Site here for bonus contentSubscribe to our YouTube ChannelCall the Listener Line & leave your comments: (631) 800-3579 Remember to Rate & Review the show! Help us keep the conversation going with your donation - Click Right Here or go to GigDestiny.com Buzzsprout - Let's get your podcast launched! Start for FREE

Discover Lafayette
Pavy Art + Design – Acadian Inspired Textiles by Francis X. Pavy and Cathi Pavy

Discover Lafayette

Play Episode Listen Later May 20, 2022 44:45


Francis X. and Cathi Pavy joined Discover Lafayette to talk about Pavy Art + Design, their contemporary line of Acadian-inspired textiles derived from the iconic artwork of Francis X. Pavy. Pavy Art + Design's offerings are inspired by Francis X Pavy's visual vocabulary and iconic imagery­—aka Pavicons. Textiles and wallpaper are derived from his original artwork and he designs and hand paints every pattern and colorway in their collection. "It is important to me that the artwork has a narrative behind it, to have depth, meaning, and experience behind it," says Francis Pavy. While Pavy Art + Design is primarily focused on business-to-business sales, individuals can also buy direct. Cathy says, "Our goal is to get into showrooms to the trade across the country" so that everyone can get to know what is special about Acadiana. The business was conceptualized in 2019; the Pavys had "always talked about extracting elements of Francis' paintings and creating textiles." The process of converting art into a textile design is a business that has allowed the couple to honor their mutual South Louisiana heritage, which they both cherish. Francis spoke of the prevalence of native grasses such as Tunica, Cane, Marsh, and Briar and how his patterns each embody a story about South Louisiana. Pavy Art + Design offers delightfully colorful designs for any home decor based upon the work of Francis X. Pavy. Francis has been creating art for forty years in his studio in Downtown Lafayette. He was originally inspired as a child by a Saturday morning syndicated show called "Drawing with Jon Gnagg," and his parents signed him and his sister, Camille, up for art classes with the acclaimed Elemore Morgan who was teaching at that time at Girard Park. Francis kids that he hounded his parents for a drawing kit and he still has a piece of it. He also learned photography while still a young boy when his dad documented their lives through his photos. Francis had a darkroom in the attic and learned to develop the film. He still "takes photographs in his head" when he is inspired to paint. "Sometimes I'll see something in my head and the image haunts me. Or, someone will explain something to me and I'll visualize it in my head and the image keeps coming back again and again. I think of it as taking photographs in my head." Francis is an internationally acclaimed painter and mixed-media artist known for his vivid works capturing the folklore of South Louisiana. Both Francis and Cathi stressed the importance of their formative years, being raised in families that played music and loved to dance to Cajun music. The discovery and reinvention of Cajun Culture is a new experience for every generation according to Francis. "The younger kids playing music interpret it in their own way, which is no different than the 80s when Beausoleil came out. I think our culture is reinvented every so many years. Even before us, it was Dewey Balfa and Iry LeJeune who changed Cajun culture after the war and the Newport Folk Festival. We have a dynamic culture that is always changing." In 1990, Rolling Stone Magazine dubbed Francis the “Picasso of Zydeco.” Collectors of his art include The New Orleans Museum of Art and the Morris Museum of Art, Ron Howard, Paul Simon, and Prince Bandar of Saudi Arabia, among others. His work is featured on the TomTom Club album cover of the Talking Heads. Lorne Michaels of SNL fame discovered Francis' work while traveling to Louisiana a couple of times and he has the artist's work front and center in his office in NYC and his home in Montauk on Long Island. While Francis is an internationally known painter, Cathi brings years of experience to the business; she has been a brand strategist with more than 20 years as an agency partner and creative director. Well known in our community for her work in the industry, Cathi's heart is also in the service work she does,